NatyaShastra

Natya Shastra
The Timeless Classic
Notes By : Ashish Richhariya
Course : FTNMP / BMM
Designation : Faculty at Thakur College Of Science & Commerce
Query : arichhariya30@gmail.com

Introduction to Natyashastra
• The Natyashastra combines the words “Natya”,
referring to the techniques of dancers/actors and
the word “Shastra” referring to science.
• The text contains elaborate details of acting
techniques, costumes, music, musical instruments
and make-up and is also the essential social and
philosophical foundation of India’s traditional
dance forms like the Bharatanatyam, Oddisi and
Kuddiyatam. Thakur College Of Science & Commerce,Mumbai

Origin of Natyashastra
• The composition date of Natyashastra is unknown, it varies
between 500 BCE to 500 CE.
• The author of the Natya Shastra is unknown, and the Hindu
tradition attributes it to the Rishi Bharata. It may be the work of
several authors, but scholars disagree.
• The word Bharat also means an actor, so some scholars are of the
opinion that an unknown actor(s) may have been responsible for
the creation of this text.
• Written in Sanskrit, the Natyasastra is divided into 36 chapters
and 6000 sutras.
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Mythological Connection
• The story goes that Brahma, the creator of the world asked Sage
Bharata to write the Natyashastra. Bharata took the lyrics from
the 'Rigveda, the music from the Samaveda, the gestures from
the Yajurveda and the aesthetics from Atharvaveda to create
the Natyashastra which is often referred to as the fifth Veda.
• The legend goes on to give an explanation of what happened next.
Apparently a performance was created during the banner
ceremony of the god Indra, (Indrodhvaja), and Bharata’s 100 sons
were assigned roles. The female parts were given to the celestial
nymphs or apsaras.
• However as the performance showed the banner ceremony of
Indra, the asuras were extremely agitated and created chaos
during the show.
Rigveda
Samveda
Natyashastra
Samveda
Yajurveda

(Contd.)
• Hence the show had to be transferred from the open air
performance to a closed auditorium. In one way, this was the
beginning and start of a proscenium (vertical plane or space)
theatre.
• After this chaos, Bharata goes to explain that the purpose of
theatre is to take into account both the evil and the good and it
does not show exclusive representation of any one group and
represents all groups such as sages, gods and demons alike.
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Structure Of Natyashastra
• There are total 36 Chapters in the treatise explaining each and every
aspect of performing arts. Originally containing 12,000 verses
(believed by some scholars), the latest and most studied version
consists of 6,000 poetic verses.
• Predominant number of its verses are in precise Anustubh meter (4x8,
or exactly 32 syllables in every shloka), some verses are in Arya
meter (a morae-based Sanskrit meter), and has some text that is in
prose particularly in chapters 6, 7 and 28. The chapter division in the
book is as follows:
• The outer and spatial aspects, such as the stage, the theatre building
etc. are discussed in Chapters 1–5.
• Chapters 6–7 discuss the theory of rasa, i.e. the crucial question as to
how to evoke a mood, while Chapters 8–13 focus on the physical
acting technique.

(Contd.)
• The verbal aspect, such as speech and sound, is dealt with in Chapters 14–19,
while Chapters 20–21 discuss the types and structure of drama.
• The outer aspects of acting, such as the costume and the make-up types, are dealt
with in Chapters 22–26.
• More general aspects are touched upon in several chapters, while Chapters 28–33
focus on music. Aspects of the theatre troupe and the distribution of roles are
then discussed, after which the focus returns to the very beginning, i.e. to the
question of the divine origin of the art of the theatre.
Lets see the basics covered in the treatise.

Natyashastra
Songs and DanceDrama
Acting Techniques
Music and Musical
InstrumentsSpiritual Value

Songs And Dance

SONGS
• Natyasastra discusses Vedic songs, and also dedicates over 130
verses to non-Vedic songs.
• Chapter 17 of the text is entirely dedicated to poetry and the
structure of a song, which it states is also the template for
composing plays.
• Its chapter 31 asserts that there are seven types of songs, which
are Mandraka, Aparantaka, Rovindaka, Prakari, Ullopyaka, Oveda
ka and Uttara.
• A song also has four basic architectural varna to empower its
meaning, and these tone patterns are ascending line, steady line,
descending line and the unsteady line.
• It also elaborates on 33 melodic alankaras in songs.

DANCE
• Lord Shiva’s ‘Nataraj’ avatar is said to be the Lord of Dance
• In the Natyashastra the dance is divided into two basic categories; they
are ‘Nrtta’ or the abstract, “pure” dance, which does not convey any
story or specific mood, and ‘Nritya’ or dance with rasa moods, often
serving as a medium to convey a story. Nritya is also often
called Abhinaya .
• The nrtta is constructed of the technique of rendering the rhythm (tala)
through movements that do not have any specific meaning, and the skill
of projecting frozen, sculptural poses within a given rhythmic cycle.
• In the present dance traditions a dance number or a whole recital often
combine nrtta dances and abhinaya numbers. Abhinaya technique in
itself is a complicated “science” of body language, hand gestures, and
facial expressions culminating in the eye movements. The
term abhinaya indicates all that which “brings the thing to the
audience”.

(Contd.)
• The Natyashastra defines the basic dance unit to be a karana,
which is a specific combination of the hands and feet integrated
with specific body posture and gait
(sthana and chari respectively). Chapter 4 describes
108 karanas as the building blocks to the art of dance.
• The Natyashastra mentions two different dance styles. They
are lasya and tandava. Tandava is related to the powerful creative
and destructive cosmic dance of God Shiva, while lasya is said to
have been created by Shiva’s spouse, Goddess Parvati.
• Traditionally these terms are used to indicate the style of dance,
i.e. lasya is a soft and graceful style, while tandava is strong,
even aggressive, in style. Both styles can be performed by either
male or female dancers.

Some photos of Lasya and Tandav by Goddess Parvati and Lord Shiva
Goddess Parvati performing Lasya Lord Shiva performing Tandav

Hasta Mudras mentioned in Natyashastra
• Hasta means hand and Mudra means "seal", "mark", or "gesture”.
Hasta Mudras are gestures performed with the hands and are used
to convey various feelings, or expressions or meanings.
• The Natya Shastra describes 24 mudras. In all the forms of Indian
classical dance the mudras are similar, though the names and uses
vary. There are 28 root mudras in Bharatanatyam dance, 24 in
Kathakali dance and 20 in Odissi. These root mudras are combined
in different ways, like with just one hand, or with two hands, arm
movements, body and facial expressions to make hundreds of
mudras .
• Each finger represents one of the five elements—the thumb is agni
(fire), the forefinger is vayu (air), the middle finger is akash
(ether), the ring finger is prithvi (earth) and the little finger is jal
(water).

List of Mudras of mentioned in Natyashastra
Mudras
Mudras in Bharatnatyam

Music and Musical Instruments

MUSIC AND MUSICAL INSTRUMENTS
• Music has been an integral part of performance arts in the Hindu
tradition since its Vedic times, and the theories of music found in
the Natyasastra are also found in many Puranas, such as
the Markandeya Purana.
• It is said that Natyashastra is the oldest surviving text that
systematically treats "the theory and instruments of Indian
music”.
• The ancient Indian tradition, before the Natyashastra was
finalized, classified musical instruments into four groups based on
their acoustic principle (how they work, rather than the material
they are made of). The Natyashastra accepts these four categories
as given, and dedicates four separate chapters to them, one each
on stringed instruments (chordophones), hollow instruments
(aerophones), solid instruments (idiophones), and covered
instruments (membranophones).Thakur College Of Science & Commerce,Mumbai

Classification of Musical Instruments
Type of
Instrument
Sanskrit Name English Name Example
Stringed Tata Chordophones Veena
Wind Blown
(Hollow)
Sushira Aerophones Flute
Cymbals (Solid) Ghana Idiophones Ghanta(Bell)
Percussion
(Covered)
Avanaddha Membranophones Tabla

Tata Vadya (Stringed)
Sushir Vadya (Wind)
Avanaddha Vadya
(Percussion)
Ghana Vadya (Cymbals)

Drama

DRAMA
• Bharata points out that the word or text is the basis of theatre.
The Natyashastra thus gives much space to the construction of a
play. Its chief protagonist is usually a hero, often a king or a
prince, and the five stages of the play are seen from his point of
view. They are (1) the beginning, (2) the effort, (3) the possibility
of attainment, (4) the possibility of resolution still overshadowed
by conflicts and/or obstacles and, finally, (5) the fruition.
• Drama in this ancient Sanskrit text, thus is an art to engage every
aspect of life, in order to glorify and gift a state of joyful
consciousness.
• It states that the playwright should know the bhavas (inner state
of being) of all characters in the story, and it is these bhavas that
the audience of that drama connects with.
Beginning
Effort
Possibility of
Attainment
Resolutions with
Conflicts
Fruition

(Contd.)
• The hero is shown to be similar to everyone in some ways, trying
to achieve the four goals: Dharma, Artha, Kama and Moksha of
human life in Hindu philosophy, then the vastu (plot) emerges
through the "representation of three worlds – the divine, the
human, the demonic". The best drama shows the good and the
bad, actions and feelings, of each character, whether god or man.
• Drama represents the truths about life and worlds, through
emotions and circumstances, to deliver entertainment, but more
importantly ethos, questions, peace and happiness.The function of
drama and the art of theatre, as envisioned in Natyashastra is to
restore the human potential, man's journey of "delight at a higher
level of consciousness", and a life that is enlightened.

(Contd.)
• The audience tastes dominant states of a drama through
expression of words, gestures and temperaments. These dominant
states are love, mirth, sorrow, anger, energy, terror, disgust and
astonishment. Further, there are 33 psychological states which are
transitory such as discouragement, weakness, apprehension,
intoxication, tiredness, anxiety, agitation, despair, impatience.
• There are eight temperamental states that a drama can deploy to
carry its message. The text describes four means of
communication between the actors and the audience – words,
gestures, dresses and aharya (make ups, cosmetics), all of which
should be harmonious with the temperament envisioned in the
drama.

RASA AND BHAVA
Now lets see these 2 aspects which are important in
Drama as well as Dance i.e. Rasa and Bhava.

Rasa
• A Rasa (Sanskrit: रस) literally means "juice, essence or taste“.
• It refers to the emotional flavors/essence crafted into the work
by the writer and relished by a 'sensitive spectator'
or sahṛdaya, literally one who "has heart", and can connect to the
work with emotion, without dryness.
• The rasa theory has a dedicated section (Chapter 6) Natya
Shastra. However, its most complete exposition in drama, songs
and other performance arts is found in the works of the
Kashmiri Shaivite philosopher Abhinavagupta (c. 1000 CE).
• There are in total 9 Rasa in Natyashastra. They are as follows:
Shringar, Hasya, Raudra, Karuna, Bibhatsa, Bhayanak, Veera,
Adbhuta and Shaant.

English Name Sanskrit Name Emotions
Expressed
Deities Colours
Shringar शृङ्गारः Romance, Love,
attractiveness
Vishnu Green
Hasya हास्यम् Laughter, mirth,
comedy
Ganesh White
Raudra रौद्रम् Fury Shiva (Rudra) Red
Karuna कारुण्यम् Compassion,
mercy, tragedy
Yama Grey
Bibhatsa बीभत्सम् Disgust Shiva Blue
Bhayanak भयानकम् Horror, terror Yama or Kala Black
Veera वीरम् Heroism Indra Saffron
Adbhut अद्भुतम् Wonder,
amazement
Brahma Yellow
Shaant शातम ् Peace or
Tranquility
Vishnu Perpetual White
Structure of Rasa Theory
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Rasa theory

Rasa Theory for Millennials

Bhava
• Rasas are created by bhavas: the state of mind.
• According to the Natyashastra, bhavas are of three types: sthayi,
sanchari, sattvika based on how they are developed or enacted
during the aesthetic experience. This is seen in the following
passage:
पुनश्च भावान्वक्ष्यामम स्थाययसञ्चाररसत्त्वजान्॥६.१६॥
• According to Bharat Muni, the realization of Rasa results from the
union of Vibhavas or Sattvikbhaava, Anubhavas and
Vyabhikaribhava or Sancharibahva. When Sthayeebhavas unite
with others, the three Bhavas, one attains the quality of Rasa.

Types of Bhava
Vibhava
• They are the situations
which are responsible to
bring out Sthayeebhava.
• The person in whose mind
Sthayeebhava run is known
as Allambana Vibhavas.
• The moonlit, spring, soft
breeze, fragrance of
flowers are Uddipanana
Vibhavas, in other words
they are stimuli.
Anubhava
• Their effect is seen upon the
character after the emotions
arise in the actor(s).
• They make the spectators feel
or experience Abhinaya by
words and gestures.
Vyabhikari/Sanchari
Bhava
• They are the transitory and temporary
mental states. They strike the mind and
become the cause of experiencing a
permanent mood.
• They are 33 in numbers. Some of them are
weakness, depression, anxiety, despair,
etc. also the Sanskrit verse describing all
33 is given below:
यनवेदग्लायनशङ्काख्यास्तथासूया मदः श्रमः।
आलस्यं चैव दैन्यं च चचन्तामोहः स्मृयतर्ृृयतः॥१८॥
व्रीडा चपलता हर्ृ आवेगो जडता तथा।
गवो ववर्ाद औत्सुक्यं यनद्रापस्मार एव च॥१९॥
सुप्तं ववबोर्ोऽमर्ृश्चावप अवहहत्थं अथोग्रता।
मयतर्वयाृचर्स्तथा उन्मादस्तथा मरणमेव च॥२०॥
त्रासश्चैव ववतकृ श्च ववज्ञेया र्वयमभचाररणः।
त्रयस्तस्त्रंशदमी भावाः समाख्यातास्तु नामतः॥२१॥

Types of Bhava - 2
Satvikbhava
• Physical expression of the feelings of the mind are called
Sattvika. There are 8 types which are stated in the below
Sanskrit verse:
स्तम्भः स्वेदोऽथ रोमाञ्चः स्वरभेदोऽथ वेपथुः।
वैवण्यं अश्रु-प्रलय इत्यष्टौ सास्तत्वकाः स्मृताः॥२२॥
• The list above contains the following 8 feelings:
Stambh,
Swed,
Romanch,
Swar Bhed,
Vaipathu,
Vaivarna,
Ashru
Pralay.
Sthayeebhava
• These are the permanent or dominant moods.
The Natyasastra lists 8 bhavas with eight
corresponding rasas:
Rati (Love)
Hasya (Mirth)
Soka (Sorrow)
Krodha (Anger)
Utsaha (Energy)
Bhaya (Terror)
Jugupsa (Disgust)
Vismaya (Astonishment)

English
Name
Sanskrit
Name
Emotions
Expressed
Bhavas
Shringar शृङ्गारः Romance,
Love
Rati
Hasya हास्यम् Laughter,
comedy
Hasa
Raudra रौद्रम् Fury Krodh
Karuna कारुण्यम् Compassion,
mercy,
tragedy
Shoka
Bibhatsa बीभत्सम् Disgust Jugupsa
Bhayanak भयानकम् Horror, terror Bhaya
Veera वीरम् Heroism Utsaha
Adbhut अद्भुतम् Wonder,
amazement
Vismaya
Shaant शातम ् Peace Shaant
Rasa and corresponding Bhava

Bhava

Acting Techniques

Basic of Acting Techniques
• The Natyashastra gives four different styles of natya or stylised acting:
(1) the graceful, (2) the energetic, (3) the grand, and (4) the verbal. The
last one is probably is the nearest equivalent to Western spoken theatre.
• Acting is more than physical techniques or rote recitation, it is
communication through emotions and expression of embedded meaning
and levels of consciousness in the underlying text.
• The actor, states the text, should understand the three Gunas, that
is Sattva (goodness, constructive, harmonious), Rajas (passion, active,
confused) and Tamas (darkness, destructive, chaotic) qualities, because
human lives are an interplay of these. The actor must feel a specific
state within, to express it without. The guidelines in Natyasastra employ
the ideas in Yoga school of Hindu philosophy, with concepts
mirroring asanas, pranayama and dhyana, both for actor training and the
expression of higher levels of consciousness.

(Contd.)
• Specific training on gestures and movements for actors, their
performance and significance, are discussed in chapters 8 through
12 of the Natyashastra. Chapter 24 is dedicated to females in
performance arts, however other chapters on actor training
include numerous verses that mention women along with men.
• The Natyashastra enshrines the male and female actors in any
performance art to be the most important. The brightness of
performance, or its lack, impacts everything; a great play that is
poorly performed confuses and loses the audience, while a play
that is inferior in significance or meaning becomes beautiful to the
audience when brilliantly performed, states Natyashastra.

(Contd.)
• According to the Natyashastra the actor has four principal “toolboxes”
to aid the acting process. They are aharya or costumes and make-up,
vachika or spoken or sung words, angika or the various aspects of the
actual body language, and sattvika or the expression of inner emotions.
• The natya acting technique described above relies thoroughly on
the angika body language and the aharya expression of inner moods. This
acting/dancing technique can be regarded as the Margi style, meaning
the classical tradition, still represented by the present classical styles,
such as bharatanatyam, odissi, kutiyattan, kathakali etc, all discussed
later.
• The opposite to the margi style is the Desi style, indicating “regional” or
“lesser” styles, not so closely connected to the Natyashastra tradition.
This classification into the “classical” and “folk” styles is not found in
the Natyashastra but was created later when several dance manuals
concentrated on regional styles.

Ultimate Goal: Spiritual Values

VALUES
• The Natyashastra and other ancient Hindu texts assert that arts and
music are spiritual, with the power to guide one to moksha, through
empowering the concentration of mind for the liberation of the Self
(soul, Atman). These arts are offered as alternate paths (marga or
yoga), in strength similar to the knowledge of the Srutis (Vedas and
Upanishads). Various medieval scholars, cite Natyashastra and
Bharata in linking arts to spirituality, while the text itself asserts that
beautiful songs are sacred and performance arts are holy.
• The goal of performance arts, states Natyashastra is ultimately to let
the spectator experience his own consciousness, then evaluate and
feel the spiritual values innate in him, and rise to a higher level of
consciousness. The playwright, the actors and the director
(conductor) all aim to transport the spectator to an aesthetic
experience within him to eternal universals, to emancipate him from
the mundane to creative freedom within.

By Krupa Dinesh Deshpande
Class: SY. BA. FTNMP Div: A Roll no.: 18004
SUB: Drama Production Prof: Ashish Richariya

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